Pedaling in Op.10 no. 12

[kghayesh]

I am now polishing the Revolutionary Etude and need some advice on pedaling (in all of it).
For example, during the left hand run after the opening chord, what is the best pedalling for it that gives the - revolutionary effect -  but without ruining the melody. Is it by pressing it at the begining of the run and not leaving it until the C G notes in the end of the second bar or what?

And IMO when the same run is repeated but with both hands, i guess that no pedal should be used there... Am i right?

I need some advice on pedaling throughout this etude.
Thanks,

[pseudopianist]

I am now polishing the Revolutionary Etude and need some advice on pedaling (in all of it).
For example, during the left hand run after the opening chord, what is the best pedalling for it that gives the - revolutionary effect -  but without ruining the melody. Is it by pressing it at the begining of the run and not leaving it until the C G notes in the end of the second bar or what?

And IMO when the same run is repeated but with both hands, i guess that no pedal should be used there... Am i right?

I need some advice on pedaling throughout this etude.
Thanks,

There are a few thread on this matter allready.

Since the etude doesn't have any pedal markings I guess it should be without pedal but since almost everyone uses it, why not.

This etude gets blurred very easily so try changing you pedal ever quarter note or half note. I haven't play it myself but be very carefull with your pedaling

[bearzinthehood]

The Paderewski edition doesn't have any pedal markings but the Mikuli does.  Haven't seen any others.  IIRC Mikuli said to pedal for the first quarter of every bar or something.  I haven't seen it in a while so I can't remember for sure.  Overall it should be as little pedal as you can get away with, although it gets very difficult (for me anyways) to play this piece pedaling only where Mikuli said to pedal.

[rohansahai]

I avoid using pedal in this piece except where its absolutely necessary.
Where the runs in the beginning are concerned, i do it this way:
Play the chord, and start the run fast, soft and without pedal and add pedal when I reach the bottom registers...and the same approach in the second run. In the third one (both hands) I change it slightly and press the pedal first and then when I get to the bottom, i take it off completely and from there on use it sparingly..... i.e. only at places where the right hand demands it.

[mrchops10]

It all depends on the space you are playing it in. If this is a large concert hall, no pedal simply won't work. The necessary roaring effect will be lost, and the left hand will sound dry and naked. There are no simple rules for pedaling here, but here are some ideas:
1. Pedaling obscures the bass more than the treble, and thus should be used more sparingly as the bass descends.
2. There is huge variety in pedal, a pedal is not merely either on or off. Experiment with different levels of pedaling. (The Yamaha disklavier as over 40 levels for the pedal!)
3. Pedaling always sounds more intrusive to the performer than the listener. Generally, a little more pedal (or even a lot more) than you think sounds right actually does sound right. Try to test this in a big space if you have access, using a knowledgable person in the audience.
4. Pedaling is an art. In a piece like this, I would shy away from the "change pedal every measure" attitude. You must be more flexible. Depend on your ear, and the ears of those people around you. It all depends on your piano, your space, and your interpretation. Remember that even when a composer or great editor marks a pedaling, this is merely the outline of idea. It is specific to that piano in that space. Try to keep the overall idea while still remaining flexible.

I know this is vague and difficult, but so is pedaling. And BTW, to not pedal a piece because no pedaling is marked in the score is nonsense. Chopin occasionally marked pedaling, but this shouldn't make us think that everywhere else he played "dry." This is simply unhistorical, read accounts of his playing.

[quantum]

I completely agree with mrchops10. 

I would like to add that if the LH run clearly forms some sort of arpeggio based on a chord, it would be quite safe to add a lot of pedal.  This will reinforce the harmonic structure of the arpeggio. 

If the LH has more scale like passages, use a bit less pedal so not to obscure the line of the scale.  But do not leave scales completely dry, add touches of pedal or half, or quarter pedal to give colour to parts of the scale.  If used wisely it can aid your direction of phrasing and line verry much. 

Remember the LH is not just accompaniment alone.  There are many instances where Chopin inserted melodic contour into the accompaniment.  Don't ignore these, but play them as a melody or counter-melody.